In this video, Jae Daniel takes time out from a recent tracking session at Black Rock EPS to walk us through his drum miking techniques, showing us his process for getting great drum sounds.
Jae talks about selecting the right drum mics and why he chooses the microphones he does.
As he demonstrates how to mic up a drum kit, Jae takes some time to explain his microphone selection and placement, and why he's making those choices. He offers up overhead miking tips, how to reduce bleed of the ever-present hi hat, why he uses multiple microphones on the kick drum, and more.
From microphone selection to placement, this is a crash course in miking drums!
Drum Miking Techniques – An In-Studio Tutorial Contents
“This is a Royer ribbon mic, a figure 8 [polar pattern]. It's a little darker sounding mic, and on a hi-hat that's what I'm looking to get today. You’re never struggling to find hi-hat in the mix, and if anything you're trying to remove some of that.
“The figure 8 pattern is going to allow me also to put the null points of the mic where I don't want to pick things up, so I can adjust my mic [placement] so that if I want to try not to pick up other things I can put the null points of this mic in that area.
“It should just darken the Hat up just a little bit, versus putting your typical pencil condenser on there.”
Jae notes that “the AKG D112 is pretty much a staple” as he places the mic in front of the kick drum. “I'll end up probably moving this mic a couple of times while we're getting sounds, but the idea is I'm going to get all that lower end information that I want.
“I'm going to end up making these adjustments with the mic because I need these mics to play nicely in phase…simple adjustments with this mic [the D112] will yield different phase cancellation from the other mic [the SM7b], so I'm gonna be very careful that my mic placement isn't actually taking away the characteristics that I want. If anything, [I want the phase cancellation] taking away characteristics I don't want.
“If you're strategic enough, you can actually remove trouble frequencies here without having to use EQ. So if you're savvy enough and don't mind taking the time…move the mics quarter inches, half inches, and just listen back and see what happens when you make these adjustments with your mic placement.”
Jae opts for another timeless Shure dynamic microphone for the snare.
“Nothing special going on here…[Shure] SM57 on the snare. I'll probably make a couple of adjustments…I'm trying to still get the smack, but I'm also trying [to place the mic so that] it rejects sound from back here,” Jae remarks as he motions to the area in the null spot of the SM57’s pickup pattern. “No matter what happens I'm getting the hi-hat in here, but if I place the mic strategically enough I can cut back on some of that.”
Jae sums up by observing that when you choose an SM57 for the snare you “can’t go wrong.”
To capture the snares on the bottom of the snare drum, Jae selects the Shure SM 81 small diaphragm condenser. “I [have] a steep roll-off on the bottom here because I don't want to pick up much of the low-end information.
“I really just want this [placed so] that if I want to get more of the snares…I'm going to have this to dial in if I need a little bit more.
As for the hi-pass filter, Jae says “I did use a steep roll-off too, so I'm really only getting the mids and highs.”
“Here we have no surprise…the Sennheiser MD421 large diaphragm dynamic. Pretty much the mic you've heard on toms for decades.
If you take a look at any old studio pictures of your favorites, this is what you're seeing on those toms. It's just kind of a no-brainer. You get the sound you're looking for real quickly, real easily, without too much thought process.”
“[The 414s go] way back, and some of the early ones are pretty sought-after. The first [414s] had CK12 capsules in them…pretty sexy sounding mics, while the B-ULS [versions]…are a little darker. These are newer versions. I think the XL-II might be the newest ones out there now.”
Editor’s Note: For a more detailed look at the evolution of the AKG 414, check out this article.
“If I could only have one mic to make a record with, I'd probably gravitate towards large diaphragm condensers, and these 414s…especially if I could have several other of the 414s. I can make a whole record with them. They have a [polar] pattern switch…roll off…you can pad them. Just a lot of versatility in this mic.
“And so in this room, which tends to have a little bit of low frequency build up, low-mid build up…I can take these really high and really try to just bring some air back to this.”
Regarding phase issues, Jae adds “I guess I should mention too that we're going to be crudely checking phase. I don't get too crazy about it. I guess I sort of subscribe to Joe Barresi’s idea that we're not going to get the tape measure out and measure the distance from the snare to each of the capsules. You can if you really want to be, you know, clinical about it.
“If you're working closely to the drummer with your overheads, you can use some sticks to measure. We’ll probably take a mic cable to just double-check to see that we are somewhat equidistant from the snare. Like I said earlier, you're going to move the mics after you hear things. You're going to hear something you don't like and you're going to move it until you do like it, and these are no different.”
When it comes to capturing the room sound, Jae relies on the Neumann U87 to deliver the goods. He also uses a less obvious choice as a secondary room mic.
Neumann U87 Ai
“Everybody knows the name Neumann. [It] seems to be the one everybody gets tickled about. We’ve got a U87 here, one of the newer reissues. You know, U47, 67, 87…all staples on all the records we grew up listening to.
“I'm going to use this 87 today in the room. I'm going to take it real tall. I’m trying not to get too much low-frequency information in my room mics today, so with this Neumann I'm going to take that up.”
“I'm also going to bring in this Telefunken M80, which is a dynamic that sounds like a condenser. It's just really sensitive and it's got a wide frequency response. A lot of people use it as a vocal mic, but I found it to be a little bit of a secret weapon in this room.
“It gives us a real trashy room sound that might be something that you really crush with the compressor later and just slip into the mix a little bit. [I] might not use it, might use it, but it's a really neat trashy sound so…I tend to just throw it up just in case I need it later.”
Features a wider frequency response and higher SPL capabilities, delivering a condenser-like performance in a rugged dynamic design
Equally suitable for voice, instruments or drums on both stage and in the studio
Its low mass capsule & super thin (yet surprisingly rugged) capsule membrane offers a wider range of emotion from a live vocal, with an intimacy traditionally reserved for studio quality condenser microphones
Head & capsule assembly designed to reduce proximity effect, resulting in added low end clarity for vocals, while still providing strength and authority and an open, airy character without adding danger of upper midrange feedback or honk
Once the mics are set, we head into the control room.
Black Rock EPS features a collection of some great sounding preamps. Jae explains, “I've got both my kick mics on the [Universal Audio] 610s, both my snare mics on the Avalons [737s]. I've got my room mics on the [Shadow Hills] Equinox, overheads over on the Hardy, and then I'm using the [Universal Audio] 8110 for the difference, with all the toms and stuff.
“And so now I've just patched everything in, and so once we get everything in Pro Tools correctly we’ll get [drummer] Poultry back in the room and we'll start getting some levels.”
So, there you have it! We hope that you use Jae's microphone selection and drum miking techniques as a creative starting point for your next tracking session.
Do you have some favorite drum mics, placements, or overall drum tracking strategies that you'd like to share? Please comment below…we'd love to hear from you!
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